In the two audio/visual compositions by Ingram Marshall (composer) and Jim Bengston (photographer) included on a recent surround-sound DVD release from Starkland, the artists offer an especially effective marriage of these two realms. Taken together, they arrive like a series of postcards relaying vivid, complex impressions of places—perhaps sent by residents now long gone.
In the wake of the many “Best of 2013” lists floating around, I wanted to highlight some recent album releases worthy of your time and attention. I didn’t select them for this reason, but it occurs to me that they each say something interesting and distinct about what it means to make American music right now.
This trio of guitarist Mike Eber, cousin Jeff Eber on drums, and bassist Johnny DeBlase make spare, taut music that is also chock full of dueling layers of angular counterpoint couched in polymeters. But despite its austerity and complexity, it’s surprisingly easy to listen to—perhaps an appropriate irony for a band whose name rhymes with devious!
I can’t think of another composer who manages, again and again, to create such an inverse relationship between the bald simplicity of the compositional plan and the crazy richness of the musical result. The more basic Lucier’s hypothesis—the more abstract the map—the more inexhaustible the experience.
One of the more endearingly paradoxical indications of compositional success is that interest gets piqued in music that even the composer had largely forgotten about. Unpublished works, unfinished works, juvenilia—when even that becomes fair game, you know you’ve (posthumously, usually) made it. The latest recordings from Florestan Recital Project pay that tribute to Samuel Barber (1910-1981).